The Groundskeepers began as a reaction to allegorical paintings of Eden, and aimed to reimagine the garden as a recreational paradise. Then-- as is common when using a visual language to work through ideas-- the process of developing these early paintings yielded new questions, and I felt compelled to include narrative content that fell outside the perimeters of this initial subject.
The work then became informed by my curiosity and consequential investigation into animal survival strategies; particularly, how prey organisms use their bodies to confuse, outsmart, and avoid predators. The figures in these paintings exhibit various anti-predator tactics like camouflage, masquerading, mimicry, aposematism (displaying bright colors as a warning signal), and communal defense. To me, there’s a connection between the subject of morphological flexibility in animals and the complex experience of inhabiting a human body that can easily shift between seeming overtly conspicuous in certain circumstances, and in others, is hardly visible at all.